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Alhambras. Arquitectura Neoárabe En Latinoamérica”

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Alhambras. Arquitectura Neoárabe En Latinoamérica” ALHAMBRAS ARQUITECTURA NEOÁRABE EN LATINOAMÉRICA EXPOSICIÓN TEMPORAL “ALHAMBRAS. ARQUITECTURA NEOÁRABE EN LATINOAMÉRICA” TEMPORARY EXHIBITION “ALHAMBRAS. NEO-ARABIC ARCHITECTURE IN LATIN AMERICA” ORGANIZA / ORGANISED BY Patronato de la Alhambra y Generalife CONSEJERÍA DE CULTURA. JUNTA DE ANDALUCÍA COLABORAN / IN COLLABORATION WITH Museo Casa de los Tiros Editorial Almed Agencia Mexicana de Cooperación Internacional para el Desarrollo-Embajada de México en España Proyecto de investigación “Patrimonio cultural y relaciones artísticas entre Andalucía y América del Sur” (HAR2014-57354-P) COORDINACIÓN CIENTÍFICA / SCIENTIFIC COORDINATION DISEÑO GRÁFICO / GRAPHIC DESIGN María Luisa Bellido Gant Catálogo Publicidad Adrián Contreras-Guerrero Yolanda Guasch Marí IMPRESIÓN / PRINTING Rodrigo Gutiérrez Viñuales Reproducciones Ocaña Rafael López Guzmán ENMARCACIÓN / FRAMING MAQUETA PALACIO AZUL, AL-AZRAK / Santiago Collado MODEL OF THE BLUE PALACE, AL-AZRAK León R. Zahar FOTOGRAFÍAS / PHOTOGRAPHS Roberto G. Abrodos, Greta Alvarado Lugo, TEXTOS / TEXTS Roberto Araya, Adrián Contreras-Guerrero, María Luisa Bellido Gant Marina Ehrman, Yolanda Guasch Marí, Adrián Contreras-Guerrero Rodrigo Gutiérrez Viñuales, Abigail Hernández, Yolanda Guasch Marí Frans Lemmens, Rafael López Guzmán, Rodrigo Gutiérrez Viñuales Fernando Martínez Nespral, León Rodríguez Rafael López Guzmán Zahar, Andrés Santana, Juan Sibaja, León Rodríguez Zahar Karla Tauil y Carmen Vidal Balanzat. TRADUCCIÓN / TRANSLATION STU Traductores Elena Montejo Palacios ISBN 978-84-86827-96-0 COORDINACIÓN / COORDINATION IMAGEN DE PORTADA Servicio de Investigación y Difusión. Sala del billar, Palacio Portales. PATRONATO DE LA ALHAMBRA Y GENERALIFE Cochabamba (Bolivia) Museum Design & Management Foto: Frans Lemmens Photography and Footage ÍNDICE ALHAMBRAS. ARQUITECTURA NEOÁRABE EN LATINOAMÉRICA ALHAMBRAS. NEO-ARABIC ARCHITECTURE IN LATIN AMERICA Rafael López Guzmán y Rodrigo Gutiérrez Viñuales p. 6 LA MARCA DE ESPAÑA EN ULTRAMAR. REMINISCENCIAS ISLÁMICAS SPANISH OVERSEAS INFLUENCE. ISLAMIC REMINISCENCES María Luisa Bellido Gant p. 12 EL PRESTIGIO DE LO EXÓTICO. ORIENTALISMO EN LA ARQUITECTURA INSTITUCIONAL THE PRESTIGE OF THE EXOTIC. ORIENTALISM IN INSTITUTIONAL ARCHITECTURE Yolanda Guasch Marí p. 18 LÚDICA Y RELAJANTE. ARQUITECTURA PARA UN OCIO ORIENTALISTA ENTERTAINING AND RELAXING. ARCHITECTURE FOR ORIENTAL-STYLE LEISURE Adrián Contreras-Guerrero p. 24 HABITAR LA FANTASÍA. ARQUITECTURA RESIDENCIAL LIVING IN DREAMLAND. RESIDENTIAL ARCHITECTURE Rodrigo Gutiérrez Viñuales y Rafael López Guzmán p. 30 EL PALACIO AZUL, AL-AZRAK THE BLUE PALACE, AL-AZRAK León R. Zahar p. 36 ALHAMBRAS. ARQUITECTURA NEOÁRABE EN LATINOAMÉRICA ALHAMBRAS. NEO-ARABIC ARCHITECTURE IN LATIN AMERICA Rafael López Guzmán y Rodrigo Gutiérrez Viñuales Casa Román / Barrio Manga, Cartagena de Indias, Colombia. 1919-1931 / 7 sta exposición es el resultado This exhibition is the visual result of visual de largos años de in- many years of research that culminated vestigación que culminan en in a project financed by the Council of the Alhambra and the Generalife and the un proyecto financiado por el publication of a book by the same name EPatronato de la Alhambra y Generalife y la by the publishers Almed. impresión de un libro, con el mismo título, The exhibition offers us an initial ap- por la editorial Almed. proach to the wealth of Latin American Esta muestra permite acercarnos parcial- heritage that was inspired by the Alham- bra Palace in Granada and other signifi- mente al riquísimo patrimonio latinoameri- cant Andalusian heritage buildings, built cano inspirado en la Alhambra de Granada y for the main part in between the latter en otros edificios significativos del patrimo- half of the 19th century to the first third nio andalusí, realizados fundamentalmente of the 20th century. entre la segunda mitad del siglo XIX y pri- This aesthetic, which we call neo-Arabic, had already been the object of studies mer tercio del siglo XX. in both Europe and the USA but had only Esta estética, que denominamos “neoárabe”, been approached within a Latin Ameri- contaba con estudios importantes tanto en can context on a few specific occasions, Europa como en Estados Unidos, pero no some of which feature in the exhibition. había sido tratada para el ámbito latinoa- The truth is that while the geographical area that is the object of the study re- mericano a excepción de trabajos puntuales, sponds to different historical, political, algunos de los cuales se exhiben en esta social and economic parameters to muestra. Es cierto que el espacio geográfico those that gave rise to Orientalism in que estudiamos responde histórica, política, the Old Continent, the aesthetic results social y económicamente a otros parámetros are surprising given that the conditions prevailing in the different territories and diferentes a los que producen el orientalis- for the agents involved also varied, some mo en la vieja Europa, pero sus resultados displaying more affinity with European estéticos son sorprendentes y las condicio- proposals while others, to the contrary, nes de los distintos territorios y comitentes sought ideological reasons that con- también varían, acercándose algunos a las verged in both formal manifestations and symbolic traits. propuestas europeas o, por el contrario, The field study we carried out revealed buscando otras razones ideológicas que con- the existence of a vast Orientalist herit- vergen tanto en la concreción formal como age dispersed throughout the geography en sus rasgos simbólicos. of the region and encompassing a wide El estudio de campo que hemos llevado a range of architectural typologies. In this cabo ha revelado la existencia de un ingente exhibition we have attempted to evalu- ate this disparity of design in relation to patrimonio orientalista que se distribuye the proposed functions of the buildings por toda la geografía americana y que abarca in question, highlighting, by means of muy variadas tipologías arquitectónicas. De sections, residential, institutional and / 8 hecho, hemos querido en esta exposición valorar esa disparidad de diseños en relación con sus funciones, resaltando, a modo de sec- ciones, las arquitecturas residenciales, ins- titucionales y de ocio, a la vez que otorgando un espacio singular a aquellas construccio- nes que tuvieron su origen en colectivos de emigrados peninsulares: plazas de toros (de carácter “neomudéjar”), “casas de España”, o elementos singulares copiados directamente de la Alhambra. Aunque con elementos compartidos con la estética orientalista desarrollada en el norte de Europa, en el caso americano, al auge del “alhambrismo” contribuye un buen número Casa de España / San Juan, Puerto Rico. 1932 de arquitectos que se forman y viajan por Europa y tocan puntualmente los ámbitos leisure-oriented architectures while territoriales donde se alimentan estos di- emphasising constructions whose seños. Por otro lado, también tenemos que origins can be found in collectives of immigrants from the Spanish peninsula, buscar referentes en las revistas de arquitec- for example bullrings (of new-Mudéjar tura y la literatura imperante con el éxito de character), clubs for expatriate Span- los Cuentos de la Alhambra de Washington iards (“Casas de España”) or other, Irving, las narraciones de las mil y una no- unique elements copied directly from the ches en la corte bagdadí de Harún al-Rashid, Alhambra. While it shares elements with the Ori- así como los pabellones efímeros de las ex- entalist aesthetic developed in northern posiciones internacionales; y, por supuesto, Europe, in the case of Latin America no olvidar el orientalismo pictórico que llega the boom in “Alhambraism” is partly a través de grabados, revistas ilustradas, the result of the contributions made by tarjetas postales o, incluso, obras de pintores a significant number of architects who both trained and travelled in Europe and reconocidos como Genaro Pérez de Villaamil whose designs, on occasion, reflect the y Mariano Fortuny que iban ampliando su territorial surroundings that inspired mercado en las capitales americanas. them. On the other hand, we must also A estas vías de penetración, se anexan nu- seek references in architectural jour- merosos burgueses, eruditos, que realizan nals as well as literary references, the latter of which abound thanks to the amplios viajes formativos por Europa donde success of Washington Irving’s “Tales conocerán los edificios neoárabes ingleses o of the Alhambra” and the stories about franceses, así como los originales andalusíes the Court of Baghdad in “The Arabian / 9 en su obligado viaje por España y Andalucía. Nights”, by Harun al-Rashid, in addition De estos viajes, en ocasiones, regresaban con to the ephemeral pavilions presented in objetos muebles o elementos para incluir en international exhibitions and, of course, pictorial Orientalism that arrived in the las arquitecturas como cerámicas o yeserías, form of etchings, illustrated magazines, lo que permitiría la presencia de originales postcards and even works by renowned transferidos. En este sentido, hay que reseñar painters the likes of Gerano Pérez de Vil- el funcionamiento de auténticas manufac- lamil and Mariano Fortuny, both of whose turas de materiales subsidiarios de la cons- reputations were on the increase in the capital cities of Latin America at the time. trucción que obtuvieron de la exportación These channels of osmosis were added hacia América una de sus principales líneas to by the many bourgeoisie and schol- de financiación, como
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